SwissBalletFan

Following from the Sergei Polunin thread, which I think has been a bit derailed by the point I made about Misty Copeland being the current most famous dancer in the world to the general public, a discussion has continued about this topic, that probably deserves its own thread. Mods, maybe you could please move the posts to here? My point about this topic is that for some reasons outside of the art form usually, either a very supportive rich banking spouse, or a pop star notices and supports your career, or you defect from a different country, or partners with a defector, the press snaps up the dancer and throws them into the main eye of the press. (points awarded for each dancer referenced in this description). The point is in some cases analogous to the specific ability of the dancer, the person becomes a household name in either their country or internationally. I believe that more than 50% of the audience in a any opera house could not name more than 2/3 dancers on stage without the cast list,and they are generally going to watch 'the ballet'. If you asked me to give a 'family fortunes/feud' board of: we asked 100 people to name a famous ballet dancer in the world dancing RIGHT NOW. I could personally could imagine the answer as follows: 23 Copeland 17 Polunin 10 Bolle (the rest) To be fair, the easiest way is probably just to count their respective social media followers. Thoughts? EDIT Changed numbers I think the others would be a lot higher but couldn't think of such big names right now.

Simply because she is the most famous ballet dancer to the general public in the world at this time.

H He was the youngest ever principal at RB and was promised to the new Nureyev, and the most talented dancer seen in many years. He has progressed in age and some roles, but I agree with penelope that he hasn't fulfilled his early promise, in that he is not really the most sought after dancer by all ballet companies. Sure, he is a more famous person, known by more people, but so is Misty Copeland and she is also nowhere near the most talented dancer there is right now. In another development, I also see that Mr Polunin has started the treatment to remove the Natascha tattoo from his hand, a sad development. I wish Mr Polunin all the best, but like famous sportsmen and rock stars, the 'most boring and professional' can outlast and become more successful than the most naturally talented, which undoubtedly he was (is).

The link I posted gives a live internet feed to the channel. It is part of the free view channels, and I can even watch it in Switzerland online

I think watching her dance makes anyone feel lazy in comparison

I have just seen that the Royal Ballet and Margot Fonteyn is now on London Live TV. http://www.tvguide.co.uk/tv-stream/?ch=london+live " Margot Fonteyn stars in a showcase performance from the Royal Opera House, featuring Stravinsky's The Firebird, Tchaikovsky's Swan Lake and Henze's onedine "

I am not an expert, but I believe cocaine is quite an expensive drug.

This is what you would put in Room 101? I could imagine that this could be a Tv programme on your Channel 5. Just clips over clips of 'hilarious' mishaps. Now I think of it... I might even choose watch it

Just to be clear, that Prima Ballerina is not usually an official (contractual) rank in any company, but will be a term that they are described by in media or by a doting director /chroreographer, or by the artist themselves. Prima Ballerina Assoluta IS an official term that has been given as an honour to some ballerinas that have been exceptional in their generation, not only their company.

It means a dancer at the top rank of their company, whether it be principal dancer or First Soloist etc. Therefore there is more than one prima ballerina in each company. It is very often by ballet companies in this way, for example used by the Bolshoi to describe each of their principal dancers, not just Zakharova. Also most La Scala principals call themselves either prima ballerina or primo ballerino in their social media accounts. I don't think it is the case any more that it is a term given to the 'best' dancer in a company. Whether that 'best dancer' is a ballerina (rather than modern specialist), let alone a prima ballerina is a different matter entirely.

I don't want to change the name of the thread at all, but I love the idea that this room would be Room 102, for the reason that nothing would make a lot of people suffer in Room 101 more than hearing the happiness and satisfaction coming from the next room.

I always find the prizes that state 'best female or male dancer' never really reflect 'what they say on the tin' as it is pretty clear that although MsHayward or Mr Johnsey are talented, and have great potential. They are by no means the best dancers from the other names listed, nor, especially as the Bolshoi Theatre visited in a particular good time for the company were they the best dancers that danced in the UK in the last year. I understand that its a UK award and is supportive of the UK dance industry, and I think it is a wonderful venture, I just feel that Ms Rojo Or Ms Krysanova will not be feeling that they lost to the 'Best Dancer'. It isn't a criticism of Ms Hayward, just how strange, in my opinion, the award sounds, given the amazing dancers that were seen in the UK this year. Maybe a new nomenclature is needed, or maybe, as I presume, its my problem.

Some great nominations for the new and upcoming dancers in the past year. Tobias Batley featuring prominently for the male nominations. http://www.dancing-times.co.uk/nominations-national-dance-awards/ DANCING TIMES AWARD FOR BEST MALE DANCER Tobias BATLEY (Northern Ballet) Alexander CAMPBELL (The Royal Ballet) Chase JOHNSEY (Les Ballets Trockadero de Monte Carlo) Vadim MUNTAGIROV (The Royal Ballet) Liam RIDDICK (Richard Alston Dance Company) GRISHKO AWARD FOR BEST FEMALE DANCER Francesca HAYWARD (The Royal Ballet) Ekaterina KRYSANOVA (Bolshoi Ballet) Laura MORERA (The Royal Ballet) Tamara ROJO (English National Ballet) Zenaida YANOWSKY (The Royal Ballet) STEF STEFANOU AWARD FOR OUTSTANDING COMPANY BOLSHOI BALLET ENGLISH NATIONAL BALLET LES BALLETS TROCKADERO DE MONTE CARLO NORTHERN BALLET SCOTTISH BALLET BEST INDEPENDENT COMPANY BALLET CYMRU DeNada DANCE THEATRE GARY CLARKE COMPANY PROTEIN DANCE SWEETSHOP REVOLUTION BEST CLASSICAL CHOREOGRAPHY sponsored by The Ballet Association Anabelle LOPEZ OCHOA – BROKEN WINGS for English National Ballet Jean-Christophe MAILLOT – TAMING OF THE SHREW for the Bolshoi Ballet Cathy MARSTON – JANE EYRE for Northern Ballet Will TUCKETT – ELIZABETH for The Royal Ballet Jonathan WATKINS – 1984 for Northern Ballet BEST MODERN CHOREOGRAPHY Kim BRANDSTRUP – TRANSFIGURED NIGHT for Rambert Javier De FRUTOS – ANATOMY OF A PASSING CLOUD for Royal New Zealand Ballet Akram KHAN – UNTIL THE LIONS for Akram Khan Company Russell MALIPHANT – SPIRAL PASS for Bavarian State Ballet, Munich Crystal PITE – BETROFFENHEIT for Kidd Pivot/Electric Company Theatre EMERGING ARTIST AWARD Sponsored by The L&M Trust Reece CLARKE (first artist, The Royal Ballet) Julie CUNNINGHAM (freelance choreographer) Tierney HEAP (soloist, The Royal Ballet) Katja KHANIUKOVA (junior soloist, English National Ballet) Vidya PATEL (guest artist, Richard Alston Dance Company) OUTSTANDING FEMALE PERFORMANCE (MODERN) Ching-Ying CHIEN in Until The Lions for Akram Khan Company Marivi DA SILVA in Young Man for DeNada Dance Theatre Christine Joy RITTER in Until The Lions for Akram Khan Company Hannah KIDD as Penelope in The Odyssey for Mark Bruce Company Vidya PATEL as Princess Maria Barbara in An Italian in Madrid for Richard Alston Dance Company OUTSTANDING MALE PERFORMANCE (MODERN) Miguel ALTUNAGA in Transfigured Night for Rambert Daniel COLLINS as Jekyll in Jekyll and Hyde for The McOnie Company/The Old Vic Akram KHAN in Until The Lions for Akram Khan Company Liam RIDDICK as Prince Ferdinand in An Italian in Madrid for Richard Alston Dance Company Jonathon YOUNG in Betroffenheit for Kidd Pivot/Electric Theatre Company OUTSTANDING FEMALE PERFORMANCE (CLASSICAL) Sponsored by Lee McLernon Francesca HAYWARD in Rhapsody for The Royal Ballet Ekaterina KRYSANOVA as Katherina in The Taming of the Shrew for the Bolshoi Ballet Martha LEEBOLT as Julia in 1984 for Northern Ballet Tamara ROJO as Frida Kahlo in Broken Wings for English National Ballet Zenaida YANOWSKY in the title role of Elizabeth for The Royal Ballet OUTSTANDING MALE PERFORMANCE (CLASSICAL) Sponsored by The Office for Architectural Culture Tobias BATLEY as Winston Smith in 1984 for Northern Ballet Cesar CORRALES as Ali in Le Corsaire for English National Ballet Chase JOHNSEY in the title role of Paquita for Les Ballets Trockadero de Monte Carlo Vladislav LANTRATOV as Petruchio in The Taming of the Shrew for the Bolshoi Ballet Irek MUKHAMEDOV as Diego Rivera in Broken for English National Ballet

This is a good point. Also remember that the views can also be seen after the show, especially rather than waiting to pick up coats which is usually a long queue. If your tour is on a budget. Sternen Grill is the most famous bratwurst in Zurich which is close to the operahouse, so for 7chf you can get a bratwurst and bread at the most famous place in Zürich. As you are watching Swan Lake, I would also be prepared for some clapping over music after some solos, and especially during the Black Swan PDD, so please do not hate the locals for enjoying the performance so much. There isn't much classical dancing in Zurich, so its like our nutcracker audience this season. The weather in April should be nice, but could be very wet, so umbrellas could be useful.

The prices are 7-8chf for a glass of wine, 7 for a beer, and 15chf for a glass of champagne in the Operahouse bars. Ha ha SM, I am very happily married already, but thank you Also it is may be important to note that Viktorina Kapitonova who created the role is expecting her first child, so will most likely not be dancing many, if any peformances.

And efficient too, tags added

The cast lists can be bought separately for I think 1 or 2chfs, the programmes are about 8chf, and they have some lovely photos usually, but it is only in german (not like the tomb of languages at La Scala). I wouldn't recommend it for English Speakers apart from the photos. 45 minutes before each performance there is a presentation about the performance in German. For Swan Lake it is very interesting as it was created in Zürich, and the history research and the work with Alexei Ratmansky. Drinks queues can be quite lengthy in the pause, but you can preorder drinks before the performance at the desk where you buy programmes. I would make sure to check out the view from the balcony though, also that is where some smokers go. The opera house also has tours through the backstage departments which may be interesting for you and you can book online. I have seen from your posts that Alex Jones is a particular favourite of yours, I would contact him maybe via twitter/facebook etc, he is very personable, so I would think there could be a chance he would come by and say hello afterwards if he is dancing, or even give you a tour. (I am not promising on his behalf, he is just a very generous and kind person) Although casting is not known yet, and will probably not be announced until a week before the performances. The stage door is behind the operahouse, you can drop off any chocolates or flowers with a card here before the performance, and after the performance and if you smile at the receptionist they could let you wait in the warmth inside to meet the cast as they leave. The performances always begin very promptly. I would suggest that if you are going with a group for your tour I would contact the opera house administration and ask if you could have a special tour or presentation in English if needed. They are a very open and friendly opera house, if they have capacity. There is a very good vegetarian buffet restaurant behind the opera house called titbits, which has very nice food even for meat eaters, and is flexible for a quick bite before the show. If you have any specific questions then please feel free to ask. S

Dear Toursenlair, I have never seen any person with jeans and a T Shirt at the ballet in Zürich, unless they were a dancer in the company. The general rule is dark suit for men, no tie needed. For women, smart dress is fine whatever you consider it to be. The audience in the parkett is between billionaires and rich students, but there is rarely any ostentatious dress. I would say that the if you feel comfortable then thats the most important, as long as it not jeans or a t shirt. In general, the more classic, and more conservative, the better. Just remember its a banking city and most people will be wearing what they wear to work in midweek shows. Take good note of the sight lines at the opera house. If it is mild weather, take a wrap, and go to the first loge level to the Spiegelsaal to walk out onto the balcony facing the city, it is a great view. Also, the crowd is very dependent upon the show, a triple-bill is generally more hip-casual, the one classical show Swan Lake is more conservative. Are you going for Quintett or Swan Lake? EDIT I Would not wear a jumper, as the 'cosy' theatre gets very warm. be prepared to check in anything that you wouldn't normally wear inside. I have a few tips, so if you have any questions please let me know . Stephan

Why not just cut a small shape, a heart or otherwise from there lucky pants, and you could stitch it into her outfit that she wears? A small heart or whatever.. then you could have different pieces for costume changes...depending upon the size of the pieces. it is the pants that are lucky, so a part of them would have the same luck....any new charm would have to have a trial depending upon the result of the first trial. Then it is decided if it is to be lucky or not. The new charm will show how much her parent loves and cares about such things, which will hopefully always be with her

Found it on youtube very nice.

Now officially released here: https://www.operadeparis.fr/saison-17-18 May I ask if anyone knows about the style of Sascha Waltz's Romeo & Juliet? I find it interesting timing, considering the protests at the Staatsballet Berlin. If Paris Opera have selected her work, one might feel that even if not classical in general, her choreography will be danced by some of the most beautifully classical trained ballet dancers in the world.

Thank you for the clarification, and apologies for my misunderstanding. I understand that the chain Weatherspoons and the smoking ban have dramatically changed the role of pubs, even for breakfast so good that even the Beckhams go in the UK. A role that cafes on the continent cater for, rather than pubs which are very much a characterisation of the old type of british pub. In terms of children's behaviour, I feel that it generally reflects the parents' interest in the children. A proud parent who is socially responsible will usually take great care to try to make sure their child does not disturb others. I often find children in the audience emphasis my enjoyment of the ballet when they laugh and watch in awe the magic of the whole event. Conversely, the children that annoy me with bad manners, have parents who don't care what other people think about their child's behaviour at all.

Indeed, the pub in question was however obviously not in the UK, hence the question whether they were english.

Where to start.... Children to a pub? I am sorry to be the 'burst the bubble' bad guy, but children are notoriously well behaved in restaurants on the continent. I believe there was even a best seller in the UK about why Parisian children are so well behaved in restaurants, as guide to rules about children's behaviour.

QED